People are voting emotionally.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Story: It's very simple but honestly that is fine.

A Cineguild Production, made at Pinewood Studios, released in the U.K. through General Film Distributors (presented by J. Arthur Rank) in 1948, in Australia through G.B.D./20th Century-Fox on 30 September 1948, in the U.S.A. through Eagle Lion on 16 February 1949. New York opening at the Sutton: 23 November 1948. Registered in February 1948. Copyright 28 January 1949 in the U.S.A. by Independent Producers Ltd. 8,712 feet. 96 minutes.SYNOPSIS: The Fullers possess the Fury Estate. Thorn means to win it back — by fair means or foul.COMMENT: Strong on rich yet somber period atmosphere, unmatched in the creative artistry of its camera-work and sets, riveting in its performances (from the superbly etched characterizations of Granger, Hobson, Fitzgerald and Gough to the equally acid-sharp cameos of Amy Veness, Margaret Withers, James Dale and J.H. Roberts), powerful in plot and startling in its effects, "Blanche Fury" is a brilliantly realized film. I would describe it as absolutely MUST viewing! Oddly, when the film last screened on local TV, its presenter seemed not to appreciate the picture at all. Indeed, he described it as a popular melodrama designed for the unlettered masses who would enjoy all its fast riding and mindless action. He implied it definitely did not rate as a film for the connoisseur — a category in which the presenter doubtless included himself. In point of fact, the masses stayed away from the film in droves. Fortunately, the film's rich production and artistic values were highly appreciated by small but influential bands of cineastes. (Available on an excellent ITV DVD).

I was expecting a cheap melodrama set in Victorian era, but instead this is a well-done, suspenseful movie concerning the struggle for ownership/inheritance of an estate, and a young woman who arrives as a poor relation and marries the heir.Valerie Hobson gives a strong performance as Blanche; once she is widowed (due to the machinations of her obsessed lover, Stewart Grainger as the illegitimate heir) she even looks different, older, strained, whereas she was all frills and glamor before. It is difficult to see Stewart as such a vindictive man, cruel to the end, and a surprise, as I figured he was only doing hero roles once he became a star, but maybe that was an American thing; this film is British.The ending does come as a surprise and shows that one can control even from the grave.

It seems clear that someone with clout had the good sense to import Marc Allegret to direct this over-heated Gothic wet dream and thus invest it with a touch of class. Allegret - elder brother of Yves, also a fine director and the first husband of Simone Signoret - enjoyed a long and illustrious career punctuated by titles such as Fanny (the second of the great Pagnol trilogy Marius-Fanny-Cesar), Entree des artistes, Gribouille, etc and his touch is evident in the stunning camera-work especially the early scene-setting. The leads Valerie Hobson and Stewart Granger acquit themselves well enough despite a lack of chemistry but on the other hand Hobson continually strived toward the genteel and didn't do sensual whilst Granger more or less plays himself, an arrogant, vain narcissist. No doubt it has its admirers.

A classic example of a very well-made historical drama of the late 1940's. In every respect it is faultless, given the constraints of time and the story compression inherent in all movie making. There are simply no movie actors or actresses today who could play the star roles with the same enormous presence, dignity, grace, self-assurance, and acting skill manifested by the superb and striking Hobson and Granger---not to mention their precise and exemplary articulation of the English language. These were manifestly adults, not today's mumbling urchins posing as adults. Photography, production values, and historical accuracy are beyond praise. This was Valerie Hobson's personal favorite of her film performances.